Jump to content

Monarcheon

Reviewers
  • Content Count

    1,810
  • Joined

  • Last visited

  • Days Won

    139

Monarcheon last won the day on March 25

Monarcheon had the most liked content!

Community Reputation

393 Excellent

About Monarcheon

  • Rank
    Elite Composer
  • Birthday June 16

Profile Information

  • Biography
    My job as a theorist and reviewer is not to force changes or ideologies into your music, but to make you question your decisions and beliefs in the process. Being able to defend your ideas not only makes you a better musician but a better-equipped human being, and ultimately, it's our job to be both, even while only exercising one at any given time.
  • Gender
    Female
  • Location
    USA
  • Occupation
    Composer, Conductor, Arranger, Administrative Assistant
  • Interests
    Cooking, Music, Drama
  • Favorite Composers
    Gershwin, Ravel, Tchaikovsky, Shostakovich, Reich
  • My Compositional Styles
    Big Band Fusion, Freely Atonal, Maximalist
  • Notation Software/Sequencers
    Finale 25, Logic Pro X
  • Instruments Played
    Cello, Guitar (classical), Piano, Violin, Percussion, Conductor

Recent Profile Visitors

14,079 profile views
  1. I'm a little confused. Are the visuals part of the piece, or are you background scoring? Either way, some pretty cool timbres you used; the end was so different and cool I wanted to hear more of it!
  2. It does have a Webern sort of vibe to it. I don't know what your assignment was, but in the middle section it sounded like the start of a fugue or something that you could have overlayered row forms as you went along, whenever the tetrachordal groups become combinatorial. In general, too, I think you could have had more fun mixing row forms in the parts, because right now, while it does sound ambiguously harmonic, sounds a little too static. The tempo changes were great!
  3. It's nice. When you use a ii˚ chord and voice it in close structure in the bass voices, it sounds a little gimmicky sometimes (like around 0:54).
  4. Pretty energetic and flowing. Well done on that stuff. The moving voice in the main theme ends on E (7th of the V7) and doesn't resolve to D# and it irks me a little bit every time. Generally pretty good though.
  5. Maybe a little too emotionally static throughout? It may have been how the original was, but that shouldn't really matter now with modern aesthetics. Your chord progression was cool, but I wish I had gotten a touch more variation in it like maybe with a bVII -> ct˚7 -> vi instead of just jumping right to D minor.
  6. End of the second phrase where the piano tremolos I would suggest forgoing the tremolo (sounds unexpected and space-fill-y) and have the strings play something over it instead. The quintal stuff at the end was really cool, but never felt super satisfying as the piece ended. Since you transformed into the inversion of it, it left the counterpoint a little bare without much resolution to the previous section.
  7. How much did you want to emulate the counterpoint rules of Pachelbel's canon? In mm. 4-5, already your leading tone resolves by leap to the 3rd, etc., etc... This is especially noticeable from your second to last measure to your last measure. Even if you weren't trying to adhere to the rules, some of your notes have lots of close-knit dissonance leaps that don't really resolve in a suspension or retardation format and end up sounding non-fluid. Your chord progression is somewhat weird, since you have a I - V - IV6 - IV which creates this strange little portion of static harmonic movement.
  8. This is super cool. You should be glad to have written it. I wasn't as big of a fan of the section at 113 with the tremolos, since I think you lose some of the momentum you've built up. I know the idea is you treat the chord changes as the big rhythm, but the augmentation is slightly lost to me. Maybe it's the MIDI? There were also some spots with cross-player oblique motion that sounded a little static to me like 99 (F5 - F5), but I really liked listening to this. Congratulations.
  9. Thank you both! The huge chords come off in various different timbres depending on velocity of the strike, which is why they're awesome to use in consistent sequences.
  10. You forgot A# in your description scale, haha. That's kind of the important one. The piece is pretty cool, though you might want to consult a harpist on sharp fourths? I'm still trying to figure out pedals and stuff, so you probably know more than me. The couple parts with the dissonance between 6 and 7 were cool. I don't think you have to be conservative using Lydian-Mixolydian (how I learned to call it), and when we work in odd scales for the first time, sometimes we get so fixated on preserving the sound of the scale that we sacrifice our ideas for it. In major/minor we alter tones all the time, so you could definitely expand this a little bit, introducing some new ideas. Remember that nobody is going to praise the piece just because it's in Lydian-Mixo, so you might as well have fun with it.
  11. Cool, pretty chill stuff. Some nice moments of harmonic oddity that can be interpreted in multiple ways. If there was one thing to harp on, in fact, is that some chord changes, especially to the tonic can sound a little dorky in comparison to all the other great changes you have, especially when you try to elide the cadence so much.
  12. Serge touched on this a bit; to me, it just doesn't seem to have a ton of range from apex to nadir. It seems to stay pretty consistent. I don't think this feeling is helped by the pretty static tempo throughout either.
  13. Felt a little bit too long without significant change– when you get to the end, it sounds like a sort of end to the exposition of a sonata form or something. Like, it felt like that should have gone somewhere. I don't know, the intrigue you built a the beginning was great, but a little disappointing when it felt like that was going to be the status quo.
  14. Impressively dynamic. Couple things: A got a little tired of the rhythmic figure of the piano in the beginning. The harmonies were cool (especially the first modulation), but even a couple bars more of variation would have helped. The use of the more Eastern scale was a little bit jarring to me upon first listen. I don't know why, but the effect it had was more instant, than transformative. Overall, nice work, especially the beginning and the end.
  15. Maybe tone the percussion a little bit, especially the snare drum. Because the bass line is constant (and you already did some of this), I would make some more internal chord changes stemming from the mid-range notes (i.e. creating a G6/A chord using the float-synth, over bass).
×
×
  • Create New...